Arthur Laurents Movies

Jerry Herman is a singer and songwriter who rose to fame on the strength of several hit Broadway shows, launched at a time when the rise of rock and roll was leading many to doubt the future of the American musical theater. Born and raised in Jersey City, New Jersey to parents with a love of musical theater, Jerry Herman staged his first show while he was in college in 1955, and shortly after graduation he wrote music and lyrics for an off-Broadway show that ran two years. But it was 1964's blockbuster hit Hello Dolly that made Herman a big name on Broadway, and his next show, Mame, was nearly as successful. While many of Herman's subsequent shows were critical successes, they failed to enjoy the same level of success, and the film versions of both Hello Dolly and Mame failed to capture the magic of the stage versions. But Herman enjoyed a surprise comeback with 1983's La Cage Aux Folles, and today he's regarded as one of the last great figures of Broadway's golden age. Filmmaker Amber Edwards pays homage to Herman and his songs with Words and Music by Jerry Herman, a documentary which features performances of some of Herman's best known songs along with stories of his career in music. Among the interview subjects and performers are Carol Channing, Angela Lansbury, Leslie Uggams, Michael Feinstein, Charles Nelson Reilly, Fred Ebb, Marge Champion and many others. ~ Mark Deming, All Movie Guide

Based on Vito Russo's groundbreaking 1981 work of film history, The Celluloid Closet gathers clips from dozens of mainstream Hollywood films to illustrate how the movies have dealt explicitly -- and more importantly, implicitly -- with gay and lesbian themes. Layered between the clips are interviews with filmmakers whose works have touched on that subject. The popular films of the Golden Age could only hint at homosexuality and often portrayed gays as simpering characters, objects of scorn or merriment, or insidious villains. With the strictures of the old Production Code loosening, bolder presentations were possible, but often over the objections of studio executives who feared a public backlash against a film that dealt with a long taboo subject. Among the films discussed are Philadelphia, The Children's Hour, Making Love, Rope, and Spartacus. Gore Vidal, Tom Hanks, Susan Sarandon, and director John Schlesinger are among the film's strongest interview subjects. ~ Tom Wiener, All Movie Guide

Pop singer Neil Diamond stars in this ill-begotten second remake of Al Jolson's seminal 1927 musical The Jazz Singer. The moth-eaten story concerns a cantor's son who desires success as a pop singer, despite the wishes of his imperious father. The film takes place in the present day with Yussel Rabinowitz (Neil Diamond) playing a young (though middle-aged looking) cantor performing at the synagogue of his father (Laurence Olivier). Yussel is married and has settled down to a life of religious devotion to the teaching of his fath. But on the side, he writes songs for a black singing group, and when a member of the quartet takes ill, Yussel covers for him at one of their gigs by wearing blackface! The nightclub engagement is such a success that Yussel abandons his family -- and his father's synagogue -- and leaves his New York home for Los Angeles, hoping to break into the music business. Almost immediately he is spotted by spunky agent Molly Bell (Lucie Arnaz), who books him as an opening act for a touring comic. Yussel hits it big, but his father resents Yussel's forsaking their traditional Jewish ways. His father disowns him, rending his garments and bellowing, "I hef no son!" ~ Paul Brenner, All Movie Guide

"Gorgeous goyish guy" meets Jewish radical girl in Sydney Pollack's glossy romance. In 1937, frizzy-haired Red co-ed Katie Morosky (Barbra Streisand) briefly captures the attention of preppy jock Hubbell Gardiner (Robert Redford) with her passionate pacifism, while the writing talent beneath his privileged exterior entrances her. Almost eight years later, the two are reunited in New York, when well-coiffed leftist radio worker Katie spies military officer Hubbell snoozing in a nightclub. Through her force of will, and in spite of his smug rich friends, the two opposites fall in love, sparring over Katie's activist zeal and Hubbell's writerly ambivalence after a failed first novel. They head to Hollywood so that Hubbell can write a screenplay for his buddy-turned-producer J.J. (Bradford Dillman). But the House Committee on Un-American Activities' Communist witch hunt in 1947 tears the pair apart, as a pregnant Katie refuses to keep silent about the jailing of the Hollywood Ten, while a faithless Hubbell decides to save his career. When the two meet again at the dawn of the '60s, TV hack Hubbell and A-bomb protestor Katie feel the old pull, but they have to decide if it's worth the grief. Although blacklisted writers had returned to Hollywood -- and won Oscars -- by the early 1970s, the HUAC sections of Arthur Laurents's screenplay were still considered dicey, resulting in substantial cuts; Laurents reportedly blamed star Redford for not fighting them hard enough. Regardless of the edits, and critics' complaints about the film's schlockiness, 1973 audiences went for the well-executed and still politically tinged weepie, turning The Way We Were into one of the most popular films of 1973 and Redford into a major heartthrob. Streisand won an Oscar nomination for Best Actress and the Streisand-sung title tune won for Best Song. Despite the eviscerated politics, The Way We Were poignantly captures the insoluble dilemma of reconciling private desires with public awareness. ~ Lucia Bozzola, All Movie Guide

Romeo and Juliet is updated to the tenements of New York City in this Oscar-winning musical landmark. Adapted by Ernest Lehman from the Broadway production, the movie opens with an overhead shot of Manhattan, an effect that director Robert Wise would repeat over the Alps in The Sound of Music four years later. We are introduced to two rival street gangs: the Jets, second-generation American teens, and the Sharks, Puerto Rican immigrants. When the war between the Jets and Sharks reaches a fever pitch, Jets leader Riff (Russ Tamblyn) decides to challenge the Sharks to one last "winner take all" rumble. He decides to meet Sharks leader Bernardo (George Chakiris) for a war council at a gymnasium dance; to bolster his argument, Riff wants his old pal Tony (Richard Beymer), the cofounder of the Jets, to come along. But Tony has set his sights on vistas beyond the neighborhood and has fallen in love with Bernardo's sister, Maria (Natalie Wood), a love that, as in Romeo and Juliet, will eventually end in tragedy. In contrast to the usual slash-and-burn policy of Hollywood musical adaptations, all the songs written by Leonard Bernstein and Stephen Sondheim for the original Broadway production of West Side Story were retained for the film version, although some alterations were made to appease the Hollywood censors, and the original order of two songs was reversed for stronger dramatic impact. The movie more than retains the original choreography of Jerome Robbins, which is recreated in some of the most startling and balletic dance sequences ever recorded on film. West Side Story won an almost-record ten Oscars, including Best Picture, supporting awards to Chakiris and Rita Moreno as Bernardo's girlfriend, Anita, and Best Director to Robbins and Wise. Richard Beymer's singing was dubbed by Jimmy Bryant, Natalie Wood's by Marni Nixon (who also dubbed Audrey Hepburn in My Fair Lady), and Rita Moreno's by Betty Wand. The film's New York tenement locations were later razed to make room for Lincoln Center. ~ Hal Erickson, All Movie Guide

Anastasia is adapted from the popular stage play by Marcelle Maurette. The scene is Paris in the early 1920s. Ingrid Bergman plays a would-be suicide who is rescued by Russian expatriate Yul Brynner. Brynner's motives are far from altruistic; together with a group of Russian cohorts, he hopes to pass Bergman off as Princess Anastasia, the daughter of the late Czar Nicholas. If the conspirators are successful, they stand to collect the ten million pounds held in trust for Anastasia in the Bank of England. The biggest obstacle facing Brynner and company is the surviving Romanov empress (Helen Hayes), who must be convinced beyond a shadow of a doubt that Bergman is the genuine article. Anastasia represented Ingrid Bergman's return to Hollywood after several years' exile following her "scandalous" affair with Italian director Roberto Rossellini. ~ Hal Erickson, All Movie Guide

Philip Yordan's stage hit Anna Lucasta posed two problems to Hollywood in 1949. For one thing, the story concerned a prostitute who is exploited by her greedy family. For another, the characters were black, thereby cutting the box-office potential in half in those racially divisive times. In adapting Anna Lucasta to the screen, Yordan and co-scripter Arthur Laurents "laundered" the property for popular consumption. Anna's sexual hijinks are only hinted at, and in fact an impressionable viewer might even get the idea that she's still a virgin when the film comes to an end. And the racial angle was tackled by transforming the characters into Polish-Americans, which enabled Paulette Goddard to assume the leading role. Otherwise, the film differs but little from the play: Thrown out of her house by her drunken father (Oscar Homolka), Anna is welcomed back into the fold only as bait to trap an unmarried, wealthy farmer. Anna squelches her family's avaricious plans by genuinely falling in love with the poor sucker who's been targeted as her husband. Broderick Crawford fares best as Anna's doltish brother-in-law, a characterization deftly combining boorish selfishness and lovable humor. Anna Lucasta was remade with most of its Broadway bite intact in 1958 -- this time with an all-black cast. ~ Hal Erickson, All Movie Guide

Arthur Laurents' play Home of the Brave concerned a paralyzed Jewish war veteran who begins to walk again only when he confronts his fear of forever being an "outsider." The film version of the Laurents play changes the protagonist into an African-American, played by James Edwards. The soldier's comrades include his lifelong white friend Lloyd Bridges, whose death leaves Edwards racked with guilt; redneck-bigot corporal Steve Brodie; and troubled sergeant Frank Lovejoy. In the film's crucial scene, the doctor Jeff Corey forces Edwards to overcome his paralysis by yelling a racial slur; from this point on, Edwards will never again kowtow to prejudice. As corny and condescending as it may sound, Home of the Brave is one of the few films produced during the late-1940s "tolerance" cycle that plays as well today as it did when first released. ~ Hal Erickson, All Movie Guide